Friday, 28 November 2014

The Structure of Drama

In Ancient Greek tragedies, prologue, parodos, episodes, stasima, and exodus are the formal structural components that make up the play. Each plays a specific role in shaping the narrative and dramatic experience. Here's a description of each:

1. Prologue

  • Definition: The opening section of the tragedy, occurring before the entrance of the chorus.

  • Function: Sets the scene, introduces the background, and outlines the conflict or problem that will unfold during the play.

  • Connection to Greek Tragedy: Often delivered by one or two actors, the prologue provides essential exposition. For example, in Sophocles' Oedipus Rex, the prologue introduces Thebes’ suffering and Oedipus' commitment to finding the cause.

2. Parodos

  • Definition: The first song sung by the chorus as it enters the orchestra (the performance space).

  • Function: Introduces the chorus, often commenting on the events in the prologue or reflecting the community’s perspective.

  • Connection to Greek Tragedy: Sets the emotional tone and moral framework. In Antigone, the parodos celebrates the Theban victory but quickly transitions into the concerns that set the stage for conflict.

3. Episodes (epeisodion)

However, episodes often contain several key elements and follow a general flow:

  1. Entrance of Characters: An episode begins with the entrance of one or more actors onto the stage.
  2. Dialogue and Interaction: The core of the episode consists of dialogue between the characters. This dialogue serves several purposes:
    • Advancing the Plot: New information is revealed, decisions are made, and the conflict progresses.
    • Developing Character: The audience learns about the characters' motivations, beliefs, and relationships through their words and actions.
    • Establishing Conflict: Episodes often feature arguments, debates (agones), or confrontations between characters, highlighting the central conflict of the play.
    • Revealing Hamartia and Hubris: The tragic hero's flaws and excessive pride may be displayed through their interactions.

  • Definition: Scenes of dialogue or action between characters, interspersed with choral odes.

  • Function: Advance the plot and develop the characters through dramatic interaction.

  • Connection to Greek Tragedy: These are the main dramatic scenes. In Medea, the episodes include confrontations between Medea and other characters like Jason and Creon.

4. Exits of Characters: An episode concludes with the departure of the actors, often leading into a stasimon where the chorus responds to the events of the preceding episode.


In essence, an episode is a building block of the tragedy where the dramatic action unfolds through the interactions of the actors. The content and specific elements within an episode vary depending on the needs of the plot and the playwright's artistic choices. The alternation between these episodes and the choral odes creates the rhythm and dramatic tension of the play. 

Other things that may occur in an episode

  • Rhesis (Long Speech): Characters may deliver longer speeches that explore their thoughts, feelings, or explain how they came to decisions in detail. These speeches can be highly rhetorical and emotionally charged.

  • Stichomythia: This is a rapid-fire exchange of short lines of dialogue between two characters, often used to build tension or highlight a sharp disagreement.
  • Messenger Speeches: Sometimes, an episode will feature a messenger arriving to deliver news of events that have occurred offstage, particularly violent or significant ones. These speeches can be quite descriptive and impactful.

    4. Stasima (plural of Stasimon)

    Choral odes sung and danced by the chorus between episodes. The stasima often reflect on the events of the preceding episode, offer commentary on the themes, and provide a broader perspective.

    • Definition: Choral odes sung by the Chorus between episodes.

    • Function: Provide reflection, commentary, and thematic development; they allow the audience to process and digest the preceding action.

    • Connection to Greek Tragedy: Rich in metaphor and allusion, they can express communal values or foreshadow events. For example, in Agamemnon by Aeschylus, the chorus reflects on fate and justice.

    5. Exodus

    • Definition: The final scene or departure, after the last stasimon.

    • Function: Resolves the action and delivers the moral or philosophical message of the play.

    • Connection to Greek Tragedy: Often concludes with a catharsis (emotional purging) for the audience. In Oedipus Rex, the exodus depicts Oedipus’ downfall and exile, reinforcing themes of fate and self-knowledge.

    Together, these structural elements form the backbone of classical tragedy, guiding the audience through a rhythm of tension and release, action and reflection, all culminating in a powerful emotional and moral resolution.


    Epiparodos

    The return of the chorus after it had left the orchestra during the performance of a play (μετάστασις χοροῦ; metástasis choroû, cf. Poll. 4,108), as in: Aesch. Eum. 231, 244; Soph. Aj. 814, 866 ; Eur. Alc. 746, 861, Hel. 385, 515, Rhes. 564, 674 ; Aristoph. Eccl. 310, 478.






    References

    Dramatic structure - Wikipedia

    Climax (narrative) - Wikipedia

    Poetics (Aristotle) - Wikipedia

    Aristotle (1997). Aristotle's Poetics. McGill-Queen's Press - MQUP. pp. 1–. ISBN 978-0-7735-1612-0.

    Structure of Tragedy  - Donald J. Mastronarde

    The Structure of Greek Tragedy: An Overview - Kosmos Society

    CHAPITRE XII L'INTERPRÉTATION pp 189 -229
    §70. Structure de la tragédie grecque

    The Internet Classics Archive
    The poetics of Aristotle trans. by S.H. Butcher
    Poetics by Aristotle - http://goo.gl/TfJdy, archived at http://goo.gl/GNi5WW
    Outline of Aristotle's Theory of Tragedy archived at http://goo.gl/6FeCq3.



    Manifesto for a Theory of Drama and Irrational Choice
    Nigel Howard, Peter Bennett, Jim Bryant and Morris Bradley
    The Journal of the Operational Research Society
    Vol. 44, No. 1 (Jan., 1993), pp. 99-103
    Published by: Palgrave Macmillan Journals
    Article Stable URL: http://www.jstor.org/stable/2584447

    The Origins of Greek Drama. A Summary of the Evidence and a Comparison with Early English Drama
    N. P. Miller
    Greece & Rome
    Second Series, Vol. 8, No. 2 (Oct., 1961), pp. 126-137
    Published by: Cambridge University Press
    Article Stable URL:http://www.jstor.org/stable/641643

    Toward a Semiotic Theory of the Drama
    Susan Wittig
    Educational Theatre Journal
    Vol. 26, No. 4 (Dec., 1974), pp. 441-454
    Published by: The Johns Hopkins University Press
    Article Stable URL:http://www.jstor.org/stable/3206607

    Tragedy and Theory: The Problem of Conflict Since Aristotle

    Michelle Gellrich
    Series: Princeton Legacy Library
    Publication Date: July 2014, Pages: 312
    Published by: Princeton University Press
    eISBN: 978-1-4008-5938-2
    Stable URL: http://www.jstor.org/stable/j.ctt7ztmbs

    Michelle Gellrich (2014). Tragedy and Theory: The Problem of Conflict Since Aristotle. Princeton University Press. ISBN 978-1-4008-5938-2.

    Parode and Related Terms in Ancient Greek Plays

    cuip.uchicago.edu/~ldernbach/msw/xhgkaristrag.pdf

    Simon Goldhill (2012). Sophocles and the Language of Tragedy. Oxford University Press. ISBN 978-0-19-997882-3.

    James C. Hogan (1991). A Commentary on the Plays of Sophocles. SIU Press. ISBN 978-0-8093-1665-6.

    Structure of Old Comedy

    Sommerstein, A. H. (1984). ACT DIVISION IN OLD COMEDY. Bulletin of the Institute of Classical Studies31, 139–152.     http://www.jstor.org/stable/43646814.

    Whittaker, M. (1935). The Comic Fragments in Their Relation to the Structure of Old Attic Comedy. The Classical Quarterly, 29(3/4), 181–191. http://www.jstor.org/stable/636611.

    G. M. Sifakis. (1992). The Structure of Aristophanic Comedy. The Journal of Hellenic Studies, 112, 123–142. https://doi.org/10.2307/632156 https://www.jstor.org/stable/632156

    Der Monolog im Drama ein Beitrag zur griechischrömanischen Poetik: Friedrich Leo - Internet Archive




    Thursday, 27 November 2014

    Hamartia or Tragic Flaw, and the Tragic Hero

    The concept of a tragic flaw dates back to Aristotle's Poetics. In Poetics, Aristotle used the term hamartia to refer to the innate quality that leads a protagonist towards his or her own downfall. The term fatal flaw is sometimes used in place of tragic flaw. Aristotle discusses all this in Part 14 of his book entitled Poetics.

    To have Hamartia you have to have a Tragic Hero who experiences having a Tragic Flaw. This hero is usually the principal protagonist or character acting in the Tragedy, a type of drama characterised by high-stakes conflict and a fatal outcome for that protagonist. Such protagonists are Oedipus, Antigone, Ajax and Medea who all figure in plays with their own names in the title.

    Aristotle identifies three key qualities that a tragic hero must possess:

    Excellence: The tragic hero must be a person of high status and reputation. They must be someone who is admired and respected by others.

    Flaw: The tragic hero must also have a flaw or hamartia. This flaw is often a character flaw, such as pride, ambition, or hubris.

    Tragic error: The tragic hero must make a tragic error or peripeteia. This error is often a mistake of judgment that leads to the hero's downfall.

    Aristotle believed that the tragic hero must possess these three qualities in order to evoke pity and fear in the audience. Pity is the feeling of sympathy that we feel for someone who is suffering, and fear is the feeling of apprehension that we feel when we see someone who is in danger. Aristotle believed that these two emotions are essential to the experience of tragedy.

    Hamartia is the tragic or fatal flaw which leads to the downfall of a tragic hero or heroine. It is when the hero makes a mistake or an error of judgement. The origin of the word is Greek, meaning ‘fault, failure, guilt’; the term was used in Aristotle's Poetics with reference to ancient Greek tragedy. In Oedipus Rex Sophocles treats Hamartia rather like St. Augustine's concept of Original Sin, that is the state of sinfulness that all humans are born into as a result of the Fall of Adam and Eve, resulting in their banishment from the Garden of Eden. Adam fell 
    because he ate the fruit of the Tree of Knowledge, thereby disobeying God. This act of disobedience corrupted their nature and led to the state of sinfulness that all humans have subsequently inherited.



    References

    Whether Aristotle regards the “flaw” as intellectual or moral has been hotly discussed. It may cover both senses. The hero must not deserve his misfortune, but he must cause it by making a fatal mistake, an error of judgement, which may well involve some imperfection of character but not such as to make us regard him as “morally responsible” for the disasters that follow although they are nevertheless the consequences of the flaw that he has within him, and his wrongdoing and wrong decision at a crisis is the inevitable outcome of his character.

    The Poetics translated by S. H. Butcher/ Part XIV Whole text - Wikisource

    Bartky, E. (1992). Plato and the Politics of Aristotle’s “Poetics.” The Review of Politics54(4), 589–619. http://www.jstor.org/stable/1407670.

    Atē, Its Use and Meaning: a study in the Greek poetic tradition from Homer to Euripides: Doyle, Richard - Internet Archive 

    Hamartia in Aristotle and Greek Tragedy
    T. C. W. Stinton
    The Classical Quarterly
    New Series, Vol. 25, No. 2 (Dec., 1975), pp. 221-254

    The Tragic Flaw: Is it a Tragic Error?
    Isabel Hyde
    The Modern Language Review
    Vol. 58, No. 3 (Jul., 1963), pp. 321-325
    Article Stable URL: http://www.jstor.org/stable/3721422

    Hamartia, Ate, and Oedipus
    Author(s): Leon Golden
    Source: The Classical World, Sep., 1978, Vol. 72, No. 1 (Sep., 1978), pp. 3-12
    Published by: The Johns Hopkins University Press on behalf of the Classical Association of the Atlantic States
    Stable URL: http://www.jstor.com/stable/4348969

    Knox, B. (1985). Oedipus at Thebes: Sophocles’ Tragic Hero and His Time. Yale University Press. http://www.jstor.org/stable/j.ctt5hk119

    ARISTOTLE'S "HAMARTIA" RECONSIDERED
    Author(s): Ho Kim
    Source: Harvard Studies in Classical Philology , 2010, Vol. 105 (2010), pp. 33-52
    Published by: Department of the Classics, Harvard University
    Stable URL: http://www.jstor.com/stable/41429141

    Iván Nyusztay (2002). Myth, Telos, Identity: The Tragic Schema in Greek and Shakespearean Drama. Rodopi. pp. 30–. ISBN 90-420-1540-3.

    Michael J. Sidnell (1991). Sources of Dramatic Theory: Volume 1, Plato to Congreve. Cambridge University Press. pp. 49–. ISBN 978-0-521-32694-0.

    R. J. Tarrant (1990). Harvard Studies in Classical Philology. Traditional Elements In The Concept Of Hamartia: Harvard University Press. pp. 137–. ISBN 978-0-674-37940-4.

    Ian C. Storey; Arlene Allan (8 November 2013). A Guide to Ancient Greek Drama. Wiley. pp. 111–. ISBN 978-1-118-45511-1.

    Anne Norris Michelini (2006). Euripides and the Tragic Tradition. Univ of Wisconsin Press. pp. 282–. ISBN 978-0-299-10764-2.

    Jonathan Barnes (1995). The Cambridge Companion to Aristotle. Bibliography on Tragic ErrorCambridge University Press. pp. 382–. ISBN 978-0-521-42294-9.

    Jan Maarten Bremer (1969). Hamartia: Tragic Error in the Poetics of Aristotle and in Greek Tragedy. Adolf M. Hakkert.

    On the Art of Poetry, by Aristotle

    Aristotle (1951). Aristotle on the Art of Poetry. Library of Alexandria. pp. 22–. ISBN 978-1-61310-707-2
    Aristotle (1951). Aristotle on the Art of Poetry. Library of Alexandria. pp. 7–. ISBN 978-1-61310-707-2.
    Aristotle (1997). Aristotle's Poetics. McGill-Queen's Press - MQUP. pp. 26–. ISBN 978-0-7735-1612-0.

    hamartia (drama) -- Encyclopedia Britannica

    Hamartia - Examples and Definition of Hamartia

    Tragedy, Fate And Hamartia

    Dramatic structure - Wikipedia

    Sophocles Study Guide- the Theban Plays - http://goo.gl/ZLDSJj

    A Companion to Greek Religion - Google Books: Chapter 6 The Cult of Heroes

    The political uses of hero cult at Olympia and Delphi [Greece] - TSpace Repository

    Harsh, P. W. (1945).  

    Ἁμαρτία Again

    . Transactions and Proceedings of the American Philological Association, 76, 47–58. https://doi.org/10.2307/283324 https://www.jstor.org/stable/283324


    Theatre of Gythio



    References



    Wikimapia - Theatre of Gythion

    Theatre of Fthiotis Thebes



    References

    DIAZOMA - ANCIENT THEATRE OF PHTHIOTIDAI THEBES

    THEBAI PHTHIOTIS - Theatrum

    Wikimapia - Fthiotis Thebes

    Monday, 24 November 2014

    Hubris (or Hybris)

    Fall of Icarus



    Hubris
    , in Greek tragedy, is the excessive pride towards or defiance of the gods, leading to nemesis. The overbearing pride leads humans to follow paths or projects which lead to certain self-destruction. In Greek drama hubris is more or less followed by nemesis. This is the lesson learned and presented in the drama: the notion of hubris in Greek drama is the downfall of a powerful, over-proud man. In this sense hubris is a crime of powerHubris is the extreme pride or self-confidence of an individual character. which , when it offends the gods, that character is usually punished severely. Hubris is arrogance in word, deed and thought. For example, hubris is having or maintaining stubbornly an attitude which goes against or ignores, say, the prophecies, counsel or pronouncements of the Delphic Oracle. The central meaning of hubris is doing deeds and thinking thoughts more than a mere mortal human should do and think, thereby showing impiety towards the gods. Other clear examples of hubris include Xerxes' and Darius' hubris in Aeschylus' Persae. And King Creon's in Sophocles' Antigone. 

    Hubris is the sin of arrogance and pride. Wealth and hubris are often coupled together. Hubris leads characters to break divine laws. Hubris is outrageous insolence or impiety and failing to do the honour due to the gods. Hubris is punished by the gods. Socrates was executed for asebeia or impiety towards the gods.

    Traditional heroes have virtue and attempt to follow the code of honour [kleos] for heroes expected of them. Kleos is striving for superlative status as a virtue. But it is easy for this virtue to turn into hubris: they are vulnerable. This can create a great tragedy. Some traditional heroes fall into the trap of an illusion of their own greatness and fail due to a lack of identification and gratification to the gods. When a traditional hero remains humble he/she earns blessings from the gods, the reward of ending the journey, and being able to go back to society. The journeys and lives of traditional heroes are dependent on supernatural forces, not themselves. This is the very nature of mythology. 

     Greek tragic theatre is essentially courtroom drama where the audience is invited to judge just how guilty of Hubris the hero or protagonist in the play has been and to decide whether the punishment inflicted upon them was just for the crime they had committed. In this role members of the audience act like jurors. Indeed theatre taught the citizens of Ancient Athens how to perform one of their most important civic duties within a democratic state.



    Atë (ἄτη) is the Greek goddess of mischief, delusion, ruin, and folly.

    Book of Proverbs, 16:18
    Proverbs 16-18 Pride goes before destruction, a haughty spirit before a fall.

    Antonym of hubris:  sophron  
    Being of a sound mind, sane, in one's senses. Curbing one's desires and impulses, self-controlled, temperate, prudent, sensible. Hubris is a mode of behaviour, arising out of a state of mind. A man who is sophron will not act hubristically, conversely a man who acts hubristically cannot be sophron. Hubris and sophrosune can be regarded as antithetical.

    Latin for hubris is contumēlia ("contumely, insult").
    Hubris or Hybris was the mother with Zeus as father, of the god Pan. [Appollodorus]. Hybris was the personification of arrogance,

    Nemesis is the inescapable agent of someone’s or something’s downfall. Nemesis was the goddess or spirit of divine retribution against those who had succumbed to hubris. Nemesis is the psychological feeling of deep shame for what one has done.

    What are the concepts of hubris and nemesis?

    Hubris denotes over-confidence, exaggerated pride. It can be associated with a lack of knowledge or interest in history, also with shaming or contempt of others. Nemesis is the goddess of retribution and denotes the destruction, suffering or punishment that can follow in the wake of hubris.

    Hubris describes arrogant confidence, which transforms to Atë​,​ a ruinous folly or madness, then onto Nemesis, a force of retribution that resets the natural order.

    References



    Liddell & Scott, A Greek-English Lexicon- Hubris or ὕβρις

    Lewis, & Short, A Latin Dictionary, con-tŭmēlĭa

    Liddell & Scott, Greek-English Lexicon, σώφρων

    The Pattern of Aeschylean Tragedy
    Richard S. Caldwell
    Transactions and Proceedings of the American Philological Association
    Vol. 101, (1970), pp. 77-94
    Published by: American Philological Association
    Article Stable URL:http://www.jstor.org/stable/2936041

    Nemesis (mythology) - Wikipedia
    Kathleen N. Daly (2009). Greek and Roman Mythology, A to Z. Nemesis: Infobase Publishing. pp. 113–. ISBN 978-1-4381-2800-9.

    Nicolas Ralph Edmund Fisher (1992). Hybris: A Study in the Values of Honour and Shame in Ancient Greece. Aris & Phillips. ISBN 978-0-85668-144-8.

    Douglas L. Cairns (1993). Aidos: The Psychology and Ethics of Honour and Shame in Ancient Greek Literature. Oxford University Press. ISBN 9786610763689.


    Catherine Collobert: Chapter on Homeric Ethics - Fame and Prudence in Ancient Ethics
    https://www.google.co.uk/books/edition/Ancient_Ethics/9x6YAwAAQBAJ?hl=en&gbpv=1&dq=kleos+hubris&pg=PA57&printsec=frontcover


    Xerxes’ hubris and Darius in Aeschylus’ Persae (2008) : Papadimitropoulos, Loukas

    NEMESIS : Greek Goddess of Retribution & Indignation

    HYBRIS : Goddess or Spirit of Insolence, Excessive Pride & Violence

    Peitho - Wikipedia

    Nemesis - Greek Mythology Link

    Atë - Wikipedia
    Ate - Greek Mythology

    Sexuality, Violence, and the Athenian Law of 'Hubris'
    Author(s): David Cohen
    Source: Greece & Rome, Vol. 38, No. 2 (Oct., 1991), pp. 171-188
    Published by: Cambridge University Press on behalf of The Classical Association
    Stable URL: https://www.jstor.org/stable/642956

    Fate and Freedom in Greek Tragedy
    Walter R. Agard
    The Classical Journal
    Vol. 29, No. 2 (Nov., 1933), pp. 117-126 (10 pages)
    Published by: The Classical Association of the Middle West and South, Inc. (CAMWS)
    https://www.jstor.org/stable/3290417

    God and Man in "Oedipus Rex"
    Lauren Silberman
    College Literature
    Vol. 13, No. 3 (Fall, 1986), pp. 292-299 (8 pages)
    Published by: The Johns Hopkins University Press
    https://www.jstor.org/stable/25111712

    Sophocles' Ajax and Sophoclean Plot Construction
    James Tyler
    The American Journal of Philology
    Vol. 95, No. 1 (Spring, 1974), pp. 24-42 (19 pages)
    Published by: The Johns Hopkins University Press
    DOI: 10.2307/293816
    https://www.jstor.org/stable/293816

    Douglas L. Cairns. “Hybris, Dishonour, and Thinking Big.” The Journal of Hellenic Studies, vol. 116, 1996, pp. 1–32. JSTOR, www.jstor.org/stable/631953.

    La violence dans les mondes grec et romain - Nemesis, Hybris and Violence - Éditions de la Sorbonne

    'Hybris' and Dishonour: I
    N. R. E. Fisher
    Greece & Rome
    Vol. 23, No. 2 (Oct., 1976), pp. 177-193 (17 pages)
    Published by: Cambridge University Press on behalf of The Classical Association
    https://www.jstor.org/stable/642226

    'Hybris' and Dishonour: II
    N. R. E. Fisher
    Greece & Rome
    Vol. 26, No. 1 (Apr., 1979), pp. 32-47 (16 pages)
    Published by: Cambridge University Press on behalf of The Classical Association
    https://www.jstor.org/stable/642496

    Richard G. A. Buxton (1982). Persuasion in Greek Tragedy: A Study of Peitho. Cambridge University Press. ISBN 978-0-521-24180-9.

    Hybris: A Study in the Values of Honour and Shame in Ancient Greece - Nicolas Fisher - Google Books
     

    Friday, 14 November 2014

    Map of a Select Number of Ancient Greek Theatres in the Mediterranean Region







    Theatres listed

    Theater of Abdera (Greece)
    Theater of Aegeira (Greece)
    Theater of Ambracia (Greece)
    Theater of Amphipolis (Greece)
    Theater of Argos (Greece)
    Theater of Athens (Greece)
    Theater of Bouthroton (Greece)
    Theater of Chaironeia (Greece)
    Theater of Corinth (Greece)
    Theatre of Delos (Greece)
    Theater of Delphi (Greece)
    Theater of Demetrias, Volos (Greece)
    Theater of Dion (Greece)
    Theater of Dodona (Greece)
    Theater of Elis (Greece)
    Theater of Epidauros (Greece)
    Theater of Eretria (Greece)
    Theater of Gitana (Greece)
    Theater of Gytheion (Greece)
    Theater of Hephaistia (Greece)
    Theater of Isthmia (Greece)
    Theater of Kassope (Greece)
    Theater of Kos (Greece)
    Theatre of Larissa (Greece)
    Theater of Lato (Greece)
    Theater of Mantineia (Greece)
    Theater of Maroneia (Greece)
    Theater of Megalopolis (Greece)
    Theater of Messene (Greece)
    Theater of Milos (Greece)
    Theater of Mytilene (Greece)
    Theater of Nikopolis (Greece)
    Theater of Oiniades (Greece)
    Theater at Olympia (Greece)
    Theater of Olynthos (Greece)
    Theater of Orchomenos, Arcadia (Greece)
    Theater of Orchomenos, Boeotia (Greece)
    Theater of Oropos (Greece)
    Theater of Palaia Epidauros (Greece)
    Theater of Philippi (Greece)
    Theater of Rhamnous (Greece)
    Theater of Rhodes (Greece)
    Theater of Samothrace (Greece)
    Theater of Sicyon (Greece)
    Theater of Sparta (Greece)
    Theater of Stratos (Greece)
    Theater of Thasos (Greece)
    Theater of Thebes (Greece)
    Theater of Thera (Greece)
    Theater of Thorikos (Greece)
    Theater of Zea, Piraeus (Greece)
    Theater of Vergina (Greece)
    Theater of Agrigento (Italy)
    Theater of Akrai (Italy)
    Theater of Catania (Italy)
    Theater of Herakleia (Italy)
    Theater of Herakleia Minoa (Italy)
    Theater of Metaponto (Italy)
    Theater of Morgantina (Italy)
    Theater of Segesta (Italy)
    Theater of Syracuse (Italy)
    Theater of Taormina (Italy)
    Theater of Tyndaris (Italy)
    Theater of Kourion (Cyprus)
    Theater of Paphos (Cyprus)
    Theater of Alexandria Troas (Turkey)
    Theater of Antiphellos (Turkey)
    Theater of Aphrodisias (Turkey)
    Theater of Arycanda (Turkey)
    Theater of Aspendos (Turkey)
    Theater of Assos (Turkey)
    Theater of Ephesos (Turkey)
    Theater of Halicarnassus (Turkey)
    Theater of Hierapolis (Turkey)
    Theater of Knidos (Turkey)
    Theater of Letoon (Turkey)
    Theater of Miletos (Turkey)
    Theater of Pergamon (Turkey)
    Theater of Phocaea (Turkey)
    Theater of Pinara (Turkey)
    Theater of Priene (Turkey)
    Theater of Sardis (Turkey)
    Theater of Telmessos (Turkey)
    Theater of Termessos (Turkey)
    Theater of Troy (Turkey)
    Theater of Cyrene (Libya)
    Theater of Ptolemais (Libya)





    References

    The Art of Ancient Greek Theater (Getty Villa Exhibitions) - http://goo.gl/ENBM4j
    Ancient Greek Theaters - http://goo.gl/hyRrp1